Genij – Da Vinci Slash
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
5.1 Introduction
5. COMMUNICATION 5.1 Introduction This chapter is also interested in investigating the relations and non-relations between accumulation, regulation and networks, but focuses on the dimension of communication. Communication is understood here broadly as those semiotic forms, modes and tech- niques that constitute interaction between actors, but the specific focus of this chapter is on: 1) creative industries policies in London and Berlin; 2) the discourses circulating in and partly constituting networks of aesthetic production; and 3) the possible discursive interaction between creative industries policies and creative net- works. In order to investigate this, however, there is a need to broaden the notion of communication beyond the regulationist concern with communication as an instrumental act (i.e. as linked to the reproduction of the value form and political form). In order to come to grips with the simultaneous existence of multiple discourses, this chapter will commence (in section 5.2) with a brief analysis of the notion of texture as a key term for re- search on communication geographies. Reflecting a heterogeneous understanding of communication, it sensitizes our analytical per- spective to the fact that policy discourses intervene in an urban space that is already overflowing with networked communication — the policy intervention, therefore, cannot make a clean sweep, but will have to negotiate with these already-existent networks. At the same time, the concept needs to be specified, since in the literature it remains unclear how textures intertwine with accumulation and regulation. Section 5.3 corrects this weakness by connecting tex- tures more explicitly to the notion of strategic selectivity (a term already discussed in chapter three) and by emphasizing the discur- sive dimensions of the latter in order to direct attention to the selective appropriation by state institutions of broader and more diverse communicative textures. -
Dubstep - Wikipedia, the Free Encyclopedia Dubstep from Wikipedia, the Free Encyclopedia
6/18/2014 Dubstep - Wikipedia, the free encyclopedia Dubstep From Wikipedia, the free encyclopedia Dubstep /ˈdʌbstɛp/ is a genre of electronic dance music that originated in South London, England. It emerged in the late Dubstep 1990s as a development within a lineage of related styles Stylistic Reggae, dub, grime, 2-step garage, such as 2-step garage, broken beat, drum and bass, jungle, origins drum and bass, breakstep dub and reggae.[1] In the UK the origins of the genre can be Cultural Late 1990s — early 2000s, traced back to the growth of the Jamaican sound system origins London, England, United Kingdom party scene in the early 1980s.[1][2] The music generally features syncopated drum and percussion patterns with bass Typical Sequencer, turntables, sampler, drum lines that contain prominent sub bass frequencies. instruments machine, synthesiser, keyboard, personal computer The earliest dubstep releases date back to 1998, and were Derivative Future garage, post-dubstep, brostep, usually featured as B-sides of 2-step garage single releases. forms trap These tracks were darker, more experimental remixes with less emphasis on vocals, and attempted to incorporate Other topics elements of breakbeat and drum and bass into 2-step. In List of musicians, Drumstep, Dubstyle 2001, this and other strains of dark garage music began to be showcased and promoted at London's night club Plastic People, at the "Forward" night (sometimes stylised as FWD>>), which went on to be considerably influential to the development of dubstep. The term "dubstep" in reference to a genre of music began to be used by around 2002 by labels such as Big Apple, Ammunition, and Tempa, by which time stylistic trends used in creating these remixes started to become more noticeable and distinct from 2-step and grime.[3] A very early supporter of the sound was BBC Radio 1 DJ John Peel, who started playing it from 2003 onwards. -
Download[Pdf, 5.26
the golden age — ctm.13 the golden age THE GOLDEN AGE CTM.13 FESTIVAL FOR ADVENTUROUS MUSIC & ART 28.1.–3.2.2013 BERLIN WWW.ctm-festival.DE the golden age ctm.13 – Festival For adventurous music & art 28.1.–3.2.2013 Berlin ¬ www.ctm-Festival.de 2 3 DISCOURSE PROGRAMME & EXHIBITION Friday ¬ 25.1. MONDAY ¬ 28.1. TUESDAY ¬ 29.1. WEDNESDAY ¬ 30.1. THURSDAY ¬ 31.1. FRIDAY ¬ 1.2. SATURDAY ¬ 2.2. 19.00 ¬ Kunstraum 12–22.00 ¬ Kunstraum 12–22.00 ¬ Kunstraum 12–22.00 ¬ Kunstraum 12–22.00 ¬ Kunstraum 12–22.00 ¬ Kunstraum 12–22.00 ¬ Kunstraum 18.00 ¬ KunstQuartier KreuzBerg/Bethanien KreuzBerg / Bethanien KreuzBerg / Bethanien KreuzBerg / Bethanien KreuzBerg / Bethanien KreuzBerg / Bethanien KreuzBerg / Bethanien Bethanien studio 1 oPening oF the in THAT weird AGE in THAT weird AGE in THAT weird AGE in THAT weird AGE in THAT weird AGE in THAT weird AGE collaPse oF time i: sonic CTM.13 eXhiBition – CTM.13 exhibition CTM.13 exhibition CTM.13 exhibition CTM.13 exhibition CTM.13 exhibition CTM.13 exhibition time MACHINE in THAT weird AGE wolfgang ernst, lecture works and contributions by lucas 12–20.00 ¬ KunstQuartier 12–20.00 ¬ KunstQuartier 12–20.00 ¬ KunstQuartier 12–20.00 ¬ KunstQuartier 12–20.00 ¬ KunstQuartier 12–18.00 ¬ FunKhaus moderation: andreas l. hofbauer abela; tabor robak; doppeldenk; Bethanien ProJeKtraum Bethanien ProJeKtraum Bethanien ProJeKtraum Bethanien ProJeKtraum Bethanien ProJeKtraum nalePASTRASSE tim tetzner; nam June Paik; net- musicmaKers HACKlaB musicmaKers HACKlaB musicmaKers HACKlaB musicmaKers HACKlaB musicmaKers HACKlaB -
Networks of Aesthetic Production and the Urban Political Economy
Networks of Aesthetic Production and the Urban Political Economy Dissertation zur Erlangung des akademischen Grades des Doktors der Naturwissenschaften Eingereicht am Fachbereich Geowissenschaften der Freien Universität Berlin 2008 Bas van Heur Networks of Aesthetic Production and the Urban Political Economy Doctoral dissertation submitted in partial fulfillment of the requirements for the title of Doctor in the Natural Sciences at the Department of Earth Sciences, Freie Universität Berlin in March 2008 by Bas van Heur First Supervisor: Prof. Dr. Gerhard O. Braun Freie Universität Berlin Institut für Geographische Wissenschaften Malteserstraße 74-100 12249 Berlin Germany Second Supervisor: Prof. Adam Krims University of Nottingham Department of Music University Park Nottingham NG7 2RD United Kingdom Date of disputation: 13.10.2008 Declaration of Originality To the best of my knowledge, this dissertation contains no copy or paraphrase of work published by another person, except where duly acknowledged in the text. This dissertation contains no material which has been presented for a degree at the Freie Universität Berlin or any other university. Berlin, Germany, March 2008 (Bas van Heur) Contents Acknowledgements ix I. Introduction 1 II. Methodology and Methods 22 III. Accumulation, Regulation, Networks 62 IV. Location 106 V. Communication 139 VI. Labor 197 VII. Concluding Comments 219 Appendices 229 References 254 Curriculum Vitae 283 Dissertation Summary 285 Detailed Contents Acknowledgements ix I. Introduction 1 I.1 Theme and Relevance -
Towards a Cultural Political Economy of Aesthetic Production
Bas van Heur Creative Networks and the City Cityscapes – Texts in Cultural Urban Studies Volume 3 The series is edited by Laura Frahm and Susanne Stemmler. Bas van Heur (Dr.) is currently a postdoctoral researcher at the Facul- ty of Arts and Social Sciences of Maastricht University in the Nether- lands. His research focuses on the creative/cultural industries, urban studies, and science and technology studies. Bas van Heur Creative Networks and the City. Towards a Cultural Political Economy of Aesthetic Production An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlat- ched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-1374-6. More information about the initiative and links to the Open Access version can be found at www. knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommer- cial-NoDerivatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contac- ting [email protected] Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access pu- blication and further permission may be required from the rights holder.